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Where Are the Women in Billy Kluvers Experiments in Art and Technology

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American engineer

Johan Wilhelm Klüver (Nov 11, 1927 – March 20, 2004) was an electrical engineer at Bell Telephone Laboratories who founded Experiments in Art and Technology. Klüver lectured extensively on fine art and technology and social issues to be addressed past the technical customs. He published numerous articles on these subjects. Klüver curated (or was curatorial adviser) for fourteen major museum exhibitions in the United States and Europe. He received the prestigious Ordre des Arts et des Lettres honour from the French regime.

Life [edit]

Dr. Klüver was born in Monaco, November 13, 1927, and grew upwardly in Sweden. He graduated from the Royal Plant of Engineering science, Stockholm, in Electrical Engineering. In 1952, at age 25, working for a big electronics company in France, Klüver helped install a tv antenna on elevation of the Eiffel Belfry and devised an underwater Goggle box camera for Jacques Cousteau'due south expeditions.[ane]

In 1954 he came to the United states and received a Ph.D. in Electrical Engineering science from the University of California, Berkeley in 1957. He served as Assistant Professor of Electrical Applied science, at the University of California, Berkeley, 1957–58 and from 1958 to 1968 he was a Member of Technical Staff at Bell Telephone Laboratories in Murray Hill. He published numerous technical and scientific papers on, among others, pocket-sized signal power conservation in electron beams, backward-wave magnetron amplifiers and infra-blood-red lasers. He held x patents.

Art and technology do [edit]

In the early 1960s, Klüver began to collaborate with artists on works of art incorporating new technology, the first beingness kinetic art sculptor Jean Tinguely on his Homage to New York (1960), a machine that destroyed itself that was presented in the garden at MOMA. He was introduced to Jean Tinguely by Pontus Hulten, then director of the Moderna Museet in Stockholm.[1] Robert Rauschenberg as well assisted on Homage to New York.

Klüver then worked on Robert Rauschenberg's environmental sound sculpture called Oracle; and later with Yvonne Rainer on her dance in House of My Trunk. Klüver also worked with John Cage and Merce Cunningham on their Variations 5, with Jasper Johns on his Field Painting (1964), and with Andy Warhol on Silver Clouds.

Klüver, Fred Waldhauer and artists Robert Rauschenberg and Robert Whitman collaborated in 1966 organized 9 Evenings: Theatre and Engineering, a serial of performances that united artists and engineers. The performances were held in New York City'due south 69th Regiment Armory, on Lexington Avenue between 25th and 26th Streets as an homage to the original and historical 1913 Armory show. Ten artists worked with more than 30 engineers to produce fine art performances incorporating new engineering. Early on video project was used in works of Alex Hay, Robert Rauschenberg, David Tudor and Robert Whitman.[two]

In 1967 he wrote a key theoretical text in the history of art and engineering: Theater and Engineering science - an Experiment: Notes past an Engineer.[three]

Experiments in Art and Applied science (Eastward.A.T.) [edit]

In 1967 Klüver, Robert Rauschenberg, Robert Whitman, and Fred Waldhauer founded Experiments in Art and Technology, a non-for-profit service arrangement for artists and engineers. Since 1968 he served every bit president of E.A.T.[i]

E.A.T. established a Technical Services Program to provide artists with technical data and aid by matching them with engineers and scientists who can collaborate with them. In addition. E.A.T. initiates and administers interdisciplinary projects involving artists with new technology. These projects included:

  • The Pepsi Pavilion at Expo '70, Osaka Japan where East.A.T. artists and engineers collaborated to design and program an immersive dome
  • A 1971 pilot project at Anand Dairy Cooperative, Baroda, India called "Utopia: Q&A" that consisted of public spaces linked by telex in New York, Ahmedabad, Bharat, Tokyo, and Stockholm
  • A pilot program to develop methods for recording ethnic civilisation in El Salvador
  • The formation of a big screen outdoor television brandish arrangement for Heart Georges Pompidou in Paris
  • A collaboration with artists Fujiko Nakaya (1980) and Robert Rauschenberg (1989) to blueprint sets for the Trisha Brown Dance Company.
  • E.A.T. recently initiated a motion picture restoration project to restore and edit the archival moving picture material from 9 Evenings into ten films documenting the artists performances.

In 1972 Klüver, Barbara Rose and Julie Martin edited a volume Pavilion that documented the design and construction of the Pepsi Pavilion for Expo '70 in Osaka, Japan.

In 2001 Klüver produced an exhibition of photo and text panels entitled "The Story of E.A.T.: Experiments in Fine art and Applied science, 1960 - 2001 by Billy Klüver." It was first shown in Rome, then at Sonnabend Gallery in January 2002. The exhibition went to Lafayette Higher in the spring 2002, so to the Development Festival in Leeds, England, and University of Washington, in Seattle. In 2003 it traveled to San Diego State University in San Diego, California so to a gallery in Santa Maria, California, run by Ardison Phillips who was the artist who managed the Pepsi Pavilion in 1970. From April to June 2003 a Japanese version was shown at a large exhibition at the NTT Intercommunication Center (ICC) in Tokyo which also included a number of object/artifacts and documents and E.A.T. posters, every bit well as works of art that Klüver and E.A.T. were involved in. A similar showing took identify in Norrköping Museum of Art, Norrköping, Sweden in September 2004 and a small version was presented in 2008 at Stevens Institute of Applied science.

Studies of Montparnasse [edit]

Jean Cocteau (August 1916) Moïse Kisling, actrice Pâquerette and Pablo Picasso at café La Rotonde, 105 Boulevard du Montparnasse. 1 of the series of photographs examined past Klüver in his A Day with Picasso

Jean Cocteau (August 1916) Modigliani, Picasso and André Salmon. 1 of the series of photographs examined by Klüver in his A Day with Picasso

Jean Cocteau (August 1916) Amedeo Modigliani, Pablo Picasso and André Salmon in Montparnasse, Paris, a photo examined in Klüver'due south book, A Day with Picasso

In 1978 Klüver began to work with his wife Julie Martin[4] on a inquiry project on the evolution of the art customs in Montparnasse from 1880 to 1930. In 1989 the book Kiki's Paris was published in the United states of america, and afterward appeared in France, Germany, Sweden, Spain, and Japan. Kiki was the pseudonym of Alice Prin.

Klüver and Julie Martin edited and annotated the original English language translation of Kiki'south Memoirs', published in 1930, but banned by U.Southward. Community from the Usa. It was issued past Ecco Press in Fall 1996; and in French past Editions Hazan in 1998.

Klüver'southward book, A Day with Picasso, published in 1997 in the U.Southward. (likewise as in France, Frg. Brazil), was based on a group of photographs taken at lunch on a sunny afternoon in Montparnasse in 1916 by Jean Cocteau, of Pablo Picasso and Modigliani and friends including André Salmon, Max Jacob and Pâquerette, a model for the designer Paul Poiret. While Klüver in 1978 was researching textile on the artists of Montparnasse in the 1910s and 1920s for Kiki's Paris, he started collecting photographs of the flow, noticing some that appeared to have been fabricated together, with people dressed the same in each. He discovered 24 of these photographs and sequenced their events; the interpersonal relations of a pocket-size grouping in Paris vital to the Modernist era.

I that Klüver saw in a 1981 Modigliani exhibition inspired him to endeavor to determine the exact dates and times when the pictures were taken by reading the shadows like a sundial. The images provided farther clues; a uniformed human suggested that it was during WW1, the leafage on the copse indicated belatedly spring or summertime, and he recognised the awning of the Café de la Rotonde. He could place Pablo Picasso (1881–1973), Amadeo Modigliani (1884–1920) and Moïse Kisling (1891–1953) and realised there was an exhibition in which all three participated; the Salon d'Antin of July 1916 in which Picasso showed Demoiselles d'Avignon. Thus, effectually or afterwards the end of July was the most likely period in which these photographs could have been made.

Klüver ready out to test whether measurements of the angles and lengths of shadows in the photographs could yield a closer date. He had already identified all the buildings equally being on Boulevard du Montparnasse, with nigh unaltered since 1916. Using maps, making photographs and by physically measuring the buildings, their ledges or window insets, he calculated the sun'south positions and plotted the results to get a spread of 3 weeks, with the most probable engagement beingness Baronial 12. In 1983 he confirmed those findings with the Agency des Longitudes.

Pierre Chanel, author of Anthology Cocteau (H. Veyrier, 1979) affirmed that  the photographs were taken by Cocteau and provided a further six photographs from the serial, dating the photographs to 1916 based on Cocteau's preface in a book on Modigliani:

"In 1916 during the war, it was Montparnasse. I was in that location through the mediation of Picasso. His windows disregarded the graves of the Montparnasse cemetery…. We went out and visited studios of the cubists. Our promenade took us to the Cafe de la Rotonde. The Rotonde, the Dome, and a restaurant at the corner of boulevards Raspail and Montparnasse formed a town square, where the vegetable sellers stopped their small carts and grass grew between the paving stones …. Nothing documents this except some photographs I took ane forenoon at the Rotonde."[v]

Some of the negatives Kluver discovered had edge-fogging feature of the Autographic Kodak Junior[half dozen] manufactured between 1914–1927, and sold at a value 100 francs in 1916, and Cocteau'southward messages mention a Kodak given to him past his mother while he was fighting at the Forepart. A commercial photo lab had processed all of the films together however, and used a hole-punch numbering system to identify them. That confirmed that Cocteau had shot four rolls of 6 frames each. However, as each negative had been cut from the roll, they could non be used in providing a sequence. Instead, Klüver used apply measurements of the shadows to determine the times and sequences of the series.

Chanel provided the identification of the balance of those depicted; Chilean painter Manuel Ortiz de Zarate (1887–1946)  the military person who was Dadaist poet Henri-Pierre Roche (1979–1959), and the other woman was Russian painter Marie Wassilieff (1884–1957). 2 earlier photographs Cocteau had taken of Erik Satie and Valentine Gross were shot before August 12, just on the same roll every bit the photographs he took in Montparnasse. Correspondence between Gross and Cocteau narrowed their date to August x or xi.

Klüver beginning published his findings in an commodity in Art in America.[7] Reviewer Roy R. Behrens described Klüver's reconstruction in A Day With Picasso as "nearly as complete and fascinating as the forensic analysis of a crime scene."[8] The book won Best Critical Study, in the 1998 Golden Lite Book Award. The book was afterward published by Hakusuisha in Japan in 1999, and in Korea and Italy in 2000.

Death [edit]

Baton Klüver died on January 11, 2004 at the historic period of 76. He was survived by his wife Julia Martin, a daughter Maja Klüver, and a son Kristian Patrik Klüver.[ix]

Publications [edit]

  • Klüver, Billy; Experiments in Art and Technology (Organisation) (1967), Interface, artist/enginee, Experiments in Art and Applied science, retrieved 9 Apr 2020
  • Klüver, Baton; Experiments in Fine art and Technology (Organization) (1968), The artist and manufacture, Experiments in Art and Technology, retrieved 9 April 2020
  • Klüver, Billy; Experiments in Art and Technology (System) (1971), Photographic recording of some optical effects in a 27.five thousand. spherical mirror, Practical Optics, retrieved 9 April 2020
  • Klüver, Billy; Experiments in Art and Engineering science (System) (1972), The futurity of fine art and engineering, Experiments in Art and Technology, retrieved 9 Apr 2020
  • Klüver, Billy; Experiments in Art and Technology (Organisation) (1972), The time to come of art and engineering science, Experiments in Fine art and Technology, retrieved ix Apr 2020
  • Klüver, Billy; Experiments in Art and Applied science (Organization) (1978), Eastward.A.T. bibliography, 1966-1977, Experiments in Art and Technology, ISBN978-0-931286-00-1
  • Klüver, Billy; Experiments in Fine art and Technology (Organisation) (1983), What are you lot working on now? : a pictorial memoir of the sixty'due south, Experiments in Art and Technology, ISBN978-0-931286-03-2
  • Klüver, Billy; Martin, Julie (1985), Kiki's Paris : artists and lovers 1900-1930, Abrams, ISBN978-0-8109-1210-6
  • Klùver, B. (1986). 'A Day with Picasso'. In Art in America, 1986, 74, 9[10] [11]
  • Billy Klüver (1997), A solar day with Picasso 20-four photographs past Jean Cocteau, Cambridge, Mass MIT Press, ISBN978-0-262-11228-4

Awards and honors [edit]

  • 1974 Order of Vasa, bestowed past the King of Sweden
  • 1998 he received an honorary doctorate in Fine Arts from Parsons Schoolhouse of Design of the New School for Social Enquiry
  • 1998 Aureate Light Book Award; Best Critical Study, for A 24-hour interval With Picasso
  • 2002 named Chevalier in the Ordre des Arts et des Lettres, by the French Government.

See also [edit]

  • Systems art
  • Computer art
  • Conceptual fine art
  • Software art
  • Systems thinking
  • Knowledge visualization
  • Experiments in Art and Technology.

References [edit]

  1. ^ a b c Christiane Paul (2003). Digital Art (Earth of Art series). London: Thames & Hudson. p. 16
  2. ^ "Events past Yr". www.experimentaltvcenter.org. 2013-02-02. Retrieved 2021-01-29 .
  3. ^ Kristine Stiles & Peter Selz, Theories and Documents of Contemporary Art: A Sourcebook of Artists' Writings (Second Edition, Revised and Expanded past Kristine Stiles) University of California Printing 2012, pp. 480-483
  4. ^ "Julie Martin". Archived from the original on 2008-11-twenty. Retrieved 2009-04-25 .
  5. ^ Modigliani, Amedeo; Russoli, Franco; Cocteau, Jean, 1889-1963 (1959), Modigliani, Thames and Hudson, retrieved 9 Apr 2020 {{citation}}: CS1 maint: multiple names: authors list (link)
  6. ^ "No. 1A Autographic Kodak Jr. - Photographic camera-wiki.org - The costless photographic camera encyclopedia". camera-wiki.org . Retrieved 2020-04-09 .
  7. ^ Klùver, B. (1986). A Day with Picasso. Art in America, 1986, 74, 9
  8. ^ Ballast Quarterly Review, Vol. 13, No. 3, Spring 1998
  9. ^ Larson, Kay (13 January 2004). "Billy Kluver, 76, an Engineer Who Collaborated with Artists". The New York Times.
  10. ^ Bernier, Rosemond 'A Solar day with Picasso: Xx-four photographs past Jean Cocteau' Honolulu Vol. 21, Iss. two, (Spring 1998): 258.
  11. ^ Balog, A. (2002). Music in Art, 27(1/2), 182-184. Retrieved Apr 9, 2020, from www.jstor.org/stable/41818730

Bibliography [edit]

  • Pavilion: Experiments in Art and Applied science. Klüver, Billy, J. Martin, Barbara Rose (eds). New York: E. P. Dutton, 1972
  • Marga Bijvoet, (1997) Art every bit Research: Toward New Collaborations Between Art & Science, Oxford: Peter Lang
  • Jack Burnham, (1970) Beyond Modern Sculpture: The Furnishings of Science and Technology on the Sculpture of this Century (New York: George Braziller Inc.
  • Oliver Grau, Virtual Fine art, from Illusion to Immersion, MIT Press 2004, pp. 237–240, ISBN 0-262-57223-0
  • Christiane Paul (2003). Digital Art (Globe of Art series). London: Thames & Hudson. ISBN 0-500-20367-9
  • Wilson, Steve Data Arts: Intersections of Art, Science, and Technology ISBN 0-262-23209-X
  • Kynaston McShine, "INFORMATION", New York, Museum of Modern Fine art., 1970, First Edition. ISBN LC 71-100683
  • Jack Burnham, 'Systems Esthetics,' Artforum (September, 1968); reprinted in Donna de Salvo (ed.), Open Systems: Rethinking Art C. 1970 (London: Tate, 2005)
  • Edward A. Shanken, 'Art in the Data Age: Engineering science and Conceptual Art,' in Michael Corris (ed.), Conceptual Art: Theory, Myth and Practice (Cambridge: Cambridge Academy Printing, 2004).
  • Frank Popper (1993) Fine art of the Electronic Historic period, Thames and Hudson Ltd., London, and Harry N. Abrams Inc, New York, ISBN 0-8109-1928-ane
  • Charlie Gere (2002) Digital Culture, Reaktion ISBN 978-1-86189-143-3
  • Jill Johnston, (2004) Billy Kluver, 1927-2004 Artworld Obituary in Fine art in America, March issue 2004
  • Charlie Gere (2005) Art, Time and Technology: Histories of the Disappearing Body, Berg, pp. 124 & 166
  • Catherine Morris (ed.), Clarisse Bardiot, Michelle Kuo, Lucy Lippard, Brian O'Doherty, (2006). 9 Evenings Reconsidered (Cambridge: MIT List Visual Arts Middle), ISBN 978-0-938437-69-seven
  • Kristine Stiles & Peter Selz, Theories and Documents of Contemporary Art: A Sourcebook of Artists' Writings (Second Edition, Revised and Expanded past Kristine Stiles) University of California Printing 2012, Klüver text Theater and Applied science - an Experiment: Notes by an Engineer, pp. 480–483

External links [edit]

  • Paul Miller's IEEE Spectrum commodity: The engineer every bit goad: Billy Kluver on working with artists
  • Billy Klüver biography
  • Texts by Billy Klüver
  • The Godfather of Engineering and Art: An Interview with Baton Klüver past Garnet Hertz, 1995.
  • Multimedia: From Wagner to Virtual Reality by Randall Packer and Ken Hashemite kingdom of jordan

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Source: https://en.wikipedia.org/wiki/Billy_Kl%C3%BCver

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